En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Grisey

Le week-end de clôture du festival portugais dirigé par Christoph Poppen a fait la part belle aux jeunes interprètes, avec des résultats particulièrement enthousiasmants.

Het Collectief und Collegium Vocale Gent bieten einen eindrucksvollen zeitgenössischen Konzertabend.

Ein großartiges fünfstündiges Festivalexperiment mit dem Klangforum Wien, das noch lange nachhallt.

Plus d’un an après la fermeture des salles, une réponse convaincante à la question de la légitimité du concert donné par écrans interposés.

Ein mitreißendes Programm mit Bezügen zur von Fotografie und Malerei regt in der Kölner Philharmonie die Fantasie an.

Listening to Grisey's Quatre Chants two decades after its composition, it is clear that he was on a threshold into a new approach to dramatic vocal music.

A fond farewell to the Yomiuri Nippon Symphony Orchestra from its Principal Conductor for the past nine seasons.

Le Festival d'Automne à Paris présente à la Cité de la Musique un portrait de Claude Vivier, avec le chœur Solistes XXI et l'Ensemble intercontemporain.

Anne Teresa De Keersmaeker's company Rosas and the Ictus ensemble bring Vortex Temporum to New York, performed as part of Brooklyn Academy of Music's 2016 Next Wave Festival.

An opportunity for the human voice to shine in works by Mahler and Mozart, performed by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, with an opening work by Gérard Grisey.

Un concert de « musique spatiale », composé d’œuvres de Grisey, Saariaho, Maresz, Harvey et Boule, au festival de Radio France, à Montpellier. Le spectateur est projeté dans un autre espace-temps, pour une immersion au cœur de la technologie et de l’innovation artistique qui ne peut laisser indifférent.

This week saw the UK première of Anne Teresa de Keersmaeker's Vortex Temporum performed by Rosas and Ictus at Sadler’s Wells.

Exceptional performances of Grisey, Dufourt and Boulez were let down by weak Beethoven from the BBC Symphony Orchestra under Ilan Volkov at the Barbican.

Asko|Schönberg are respected pioneers of the new music scene, but this concert in Utrecht found them in less well-travelled territory: music by Debussy and Ravel. This proved a disappointing mismatch of repertoire.

The Percussive Planet Ensemble was founded seven years ago, when the then 22-year-old Martin Grubinger first performed his Percussive Planet (twelve percussion pieces from around the world) at the Beethoven Festival in Bonn.

This Wednesday, London Sinfonietta presented Luke Bedford: In Portrait – a concert with a format that seemed almost too good to be true. In a short programme combining Luke Bedford’s Wonderful No-Headed Nightingale (2011–12), Renewal (2012–13) and Gérard Grisey’s Périodes (1974), conductor Sian Edwards and the London Sinfonietta beckoned us into a world of shifting soundscapes.

The London Philharmonic Orchestra’s latest “only connect” programme was inspired by its allocated date – 12/12/12. An equivalent numerical repetition will not recur for another century. Furthermore the reversal of the first figure to 21 coincides with the day signalled by the Mayan calendar as a day of ending.

Not being a French national and having only just heard about their excellent series of Tuesday night concerts, this was my first visit to the Institut Français, Kensington. This was the last in a series of concerts focusing on French music, moving chronologically toward contemporary/modern composers over the course of the series.

Reading Gérard Grisey’s programme notes on his masterpiece Vortex Temporum is not the most agreeable experience. The reader is informed that the work is structured around ‘three basic forms’: ‘the original event – a sinusoidal wave – and two continuous events, an attack with or without resonance as well as a sound held with or without crescendo’.